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标题: 【资料】 Damien Hirst 达明·赫斯特 [打印本页]

作者: 胫骨 时间: 2007-8-4 13:38
标题: 【资料】 Damien Hirst 达明·赫斯特
<img alt="" hspace="15" src="http://www.artsbird.com/ch/news/images/20051104857032.2.jpg" align="center" vspace="15" border="0"/><img alt="" src="http://the-artists.org/Images/hirst.jpg" border="0"/><a href="http://www.artsbird.com/ch/news/images/20051104857032.2.jpg"></a>达米尔 ·赫斯特1965年生于英国布里斯托尔，现在德文郡居住。80年代末，达米尔 ·赫斯特因成功地策划了几个影响很大的展览而一举成名。他策划的“冰冻（Freeze）”（1988）和“现代医学（Modern Medicine）”（1990）不仅在英国艺术界产生了巨大影响，也掀起了一场“新英国美术”运动。作为一个艺术家，达米尔 ·赫斯特从不让自己束缚在传统的艺术家形象之中。他制作过商业音乐录像，开过饭馆，也创作过流行音乐。他将探索生命、疾病与死亡的关系作为其绘画与雕塑创作的主旨。极少主义和波普艺术的融合与渗透成为他装置艺术的风格，他的作品常给人以冰冷的感觉。例如，他将一条死鲨鱼切割开后分别泡在装满福尔马林溶液的玻璃箱中，很像是自然博物馆的陈列品。他为作品写了一个极为矛盾的标题：“有生命的思想对死亡的无能为力”。在他的装置作品中经常可看到整整齐齐码放着药瓶的药柜，还有码放着各种器具的玻璃柜。生命与死亡、健康与疾病的主题张扬在整齐而冰冷的药柜之间，生与死近在咫尺。在1990年创作的“一千年（A Thousand Year）”中，我们看到无数只苍蝇在疯狂地咬噬着一头死母牛，这是对生命食物链的隐喻。除了装置以外，达米尔 ·赫斯特还创作抽象绘画作品，他的这类作品的风格也并不十分激烈。  <a title="《【资料】 Yayoi Kusama——草间弥生》 作者：死弱弱 发表于：2006-10-20 15:38:32 最后发贴：好看。" href="http://www.heilan.com/forum/viewthread.php?tid=23263"></a><img alt="" src="http://www.artchive.com/artchive/h/hirst/hirst_impossibility.jpg" border="0"/>The Physical Impossibility of Death in the Mind of Someone Living (1991） <img alt="" src="http://www.artchive.com/artchive/h/hirst/hirst_thousand.jpg" border="0"/>A Thousand Years (1990） <img alt="" src="http://www.artchive.com/artchive/h/hirst/hirst_flock.jpg" border="0"/>Away from the Flock (1994) <img alt="" src="http://www.artchive.com/artchive/h/hirst/hirst_swimming.jpg" border="0"/>Isolated Elements Swimming in the Same Direction for the Purposes of Understanding (1991） <img alt="" src="http://www.artchive.com/artchive/h/hirst/hirst_piggy.jpg" border="0"/>This little piggy went to market, this little piggy stayed at home (1996) SELECTED PERMANENT COLLECTIONS Arts Council of Great Britain Astrup Fearnley Museum, Oslo, Norway Beckman Foundation, New York Bohen Foundation, New York British Council, UK Caldic Collection, Rotterdam, The Netherlands Denver Art Museum, USA DESTE Foundation for Contemporary Art, Athens, Greece Deutsche Bank, London Fondazione Sandretto, Turin, Italy Fondazione Prada, Milan, Italy Groeninge Group, Belgium Hirshhorn Museum, Washington DC, USA Israel Museum, Jerusalem, Israel Kunst Museum, Wolfsburg Museum of Modern Art, New York

aine Webber Art Collection, New York Rubell Family Foundation, Miami, USA Saatchi Gallery, London Sammlung Goetz, Munich, Germany San Diego Museum of Contemporary Art, San Diego, USA Scottish National Gallery of Modern Art, Edinburgh, Scotland Stedelijk Museum, Amsterdam, The Netherlands Tate Gallery, London Weltkunst Fondation, Dublin, Ireland Yale Center for British Art, New Haven, USA SELECTED SOLO EXHIBITIONS \'Theories, Models, Methods, Approaches, Assumptions, Results and Findings.\', Gagosian Gallery, New York, 2000 \'Damien Hirst\', Southampton City Art Gallery, Southampton, UK, 1998 \'The Beautiful Afterlife\', Bruno Bischofberger, Zurich, Switzerland, 1997 \'Solo Exhibition\', Astrup Fearnley Museum, Oslo, Norway, 1997 \'No Sense of Absolute Corruption\', Gagosian Gallery, New York, 1996 \'Still\', White Cube, London, 1995 \'Prix Eliette von Karajan 95\', Max Gandolph-Bibliothek, Salzberg, Austria, 1995 \'Damien Hirst\', Gagosian Gallery, New York, 1995 \'Pharmacy\', Kukje Gallery, Seoul, South Korea, 1994 \'Pharmacy\', Dallas Museum, Dallas, USA, 1994 \'A Bad Environment for White Monochrome Paintings\', Mattress Factory, Pittsburgh, USA, 1994 \'A Good Environment for Colored Monochrome Paintings, DAAD Gallery, Berlin, Germany, 1994 \'Currents 23\', Milwaukee Art Museum, Wisconsin, USA, 1994 \'Making Beautiful Drawings\', Bruno Brunnet Fine Arts, Berlin, Germany, 1994 \'Damien Hirst\', Galerie Jablonka, Cologne, Germany, 1993 \'Visual Candy\', Regan Projects, Los Angeles, USA, 1993 \'Pharmacy\', Cohen Gallery, New York, 1992 \'Where God\'s Now\', Jay & Donatella Chiat, New York, 1992 \'Mariianne, Hildegarde\', Unfair/Jay Joplin, Cologne, Germany, 1992 \'Damien Hirst: Third International Istanbul Biennial\', British Council, Istanbul, Turkey, 1992 \'Internal Affairs\', ICA, London, 1991 \'When Logic Dies\', Emmanuel Perrotin, Paris, France, 1991 \'In & Out of Love\', Woodstock Street, London, 1991 SELECTED GROUP EXHIBITIONS \'…On the sublime…\' Rooseum Center for Contemporary Art, Malmš, Sweden, 1999 \'A Portrait of Our times: An Introduction to the Logan Collection\', San Francisco Museum of Modern Art, San Francisco, USA, 1998 \'Wall Projects: Damien Hirst\', Museum of Contemporary Art, Chicago, USA, 1998 \'Fun se Si cle\', Walsall Museum and Art Gallery, Wallsall, UK, 1998 \'Pandaemonium: The London Festival of Moving Image\', LEA, London, 1998 \'Fifty Years of British Sculpture: Works from the Arts Council Collection\', Lothbury Gallery, London, 1998 \'Damien Hirst, Jeff Koons, Charles Ray\', 11 Duke Street, London, 1998 \'The Colony Room 50th Anniversary Art Exhibition\', A22 Projects, London, 1998 \'London Calling: Contemporary British Art from Italian Private Collections, Part II: The Eighties and Nineties\', The British School at Rome/Galleria Nazionale d\'Arte Moderna, Italy, 1998 \'Zone\', Fondazione Sandretto Re Rebaudengo, Palazzo Re Rebaudengo, Guarene, Italy, 1998 \'Inner Eye: Contemporary Art from the Marc and Livia Straus Collection\', Samuel P Harn Museum of Art, University of Florida, Giansville, USA, 1998 \'Modern British Art\', Tate Gallery, Liverpool, UK, 1998 \'Noir\', Trienniale di Milano, Milan, Italy, 1998 \'Veronica\'s Revenge (Lambert Art Collection, Geneva)\', Deichtorhallen, Hamburg, Germany, 1998 \'Wild/Life, -or-, The Impossibility of Mistaking Nature for Culture\', Weatherspoon Art Gallery, North Carolina, USA, 1998 \'Dimensions Variable\', British Council Touring Exhibition, 1997 \'Sensation\', Royal Academy of Arts, London, 1997 \'Sensation\', Hamburger Bahnhof, Berlin, Germany, 1997 \'Picture Britannica: Art from Britain\', Museum of Contemporary Art, Sydney, Australia, 1997 \'Picture Britannica: Art from Britain\', Art Gallery of South Australia, Adelaide, Australia, 1997 \'Picture Britannica: Art from Britain\', Te Papa, Wellington, New Zealand, 1997 \'Turning Up #4\', Kunstmuseum Wolfsburg, Germany, 1997 \'Packaging Holiday\', Hydra Workshops, Hydra, Greece, 1997 \'Sunny Days/Critical Times: An Exhibition of Works from the Bohen Foundation\'s Collection\', The Bohen Foundation, New York, 1997 \'Veronica\'s Revenge: Oeuvres photographiques de la Lambert Art Collection\', Centre d\'Art Contemporain, Geneva, Switzerland, 1997 \'Material Culture\', Hayward Gallery, London, 1997 \'A Ilha do Tesouro\', Fundao Calouste Gulbenkian, Lisbon, 1997 \'The Lost ark\', Center for Contemporary Arts, Glasgow, UK, 1997 \'Life/Live\', Musee d\'Art Moderne de la Ville de Paris, Paris, France, 1996 \'Life/Live\', Centro de Exposiçoes de Centro Cultural de Belém, Lisbon, Portugal, 1996 \'Zeit-Spiegel I\', Städtisches Museum Schloß Morsbroich, Leverkusen, Germany, 1996 \'Other Men\'s Flowers\', Galerie Aurel Scheiber, Cologne, Germany, 1996 \'Faustrecht der Freiheit (Volkmann Collection)\', Kunstsammlung Gera, Berlin, Germany, 1996 \'Faustrecht der Freiheit (Volkmann Collection)\', Neues Museum Weserburg, Bremen, Germany, 1996 \'Chaos, Madness - Moods in Contemporary Art\', Kunsthalle Krems, Austria, 1996 \'Twentieth-century British Sculpture\', Jeu de Paume, Paris, France, 1996 \'Other Men\'s Flowers\', Aurel Scheibler, Cologne, Germany, 1996 \'Private View\', The Bowes Museum, Barnard Castle, County Durham, UK, 1996 \'Happy End\', Kunsthalle, Düsseldorf, Germany, 1996 \'Faustrecht der Freiheit (Volkmann Collection)\', Kunstsammlung Gera, Berlin, Germany, 1996 Meues Museum Weserburg, Bremen, Germany, 1996 \'Do It\', Raum Aktueller Kunst, Vienna, Austria, 1996 \'Everything That\'s Interesting Is New: The Dakis Joannou Collection\', Athens School of Fine Arts, The Factory, Athens, Greece, 1996 \'Everything That\'s Interesting Is New: The Dakis Joannou Collection\', Museum of Modern Art, Copenhagen, Denmark, 1996 \'Everything That\'s Interesting Is New: The Dakis Joannou Collection\', Solomon R Guggenheim Museum SoHo, New York, 1996 \'Works on Paper\', Irish Museum of Modern Art, Dublin, Ireland, 1996 \'A Small Shifting Sphere of Serious Culture\', ICA, London, 1996 (touring exhibition) \'Spellbound\', Hayward Gallery, London, 1996 \'British Art Show 4\', Hayward Gallery, London, 1995 \'British Art Show 4\', Manchester, UK, 1995-96 \'British Art Show 4\', Edinburgh, UK, 1996 \'British Art Show 4\', Cardiff, UK, 1996 \'Brilliant: Art from London\', Walker Art Center, Minneapolis, USA, 1995-96 Contemporary Arts Museum, Houston, USA, 1995 \'New Art in Britain\', Museum Sztuki, Poland, 1995 \'Turner Prize Exhibition\', Tate Gallery, London, 1995 \'Laboratories\', Galerie Art et Essai, University of Rennes, Brittany, France, 1995 \'The Reflected Image\', Museo Pecci, Prato, Italy, 1995 \'Minky Manky\', South London Gallery, London, 1995 \'Signs and Wonders\', Kunsthaus, Zurich, Switzerland, 1995 \'From Here\', Waddington Galleries/Karsten Schubert, London, 1995 \'Group Show\', Bruno Brunnet Galerie, Berlin, Germany, 1995 \'A Bonnie Situation: Truth and Fiction\', Contemporary Fine Arts, Berlin, Germany, 1995 \'Drawing the Line\', South Bank Center, London, 1995 \'Drawing the Line\', Southampton City Art Gallery, Southampton, UK, 1995 \'Drawing the Line\', Manchester City Art Gallery, Manchester, UK, 1995 \'Drawing the Line\', Ferens Art Gallery, Hull, UK, 1995 \'Drawing the Line\', Whitechapel Art Gallery, London, 1995 \'Cocido Y Crudo\', Museo Natcional Centro de Arte Reina Sofia, Madrid, Spain, 1994 \'Art Unlimited\', Center for Contemporary Art, Glasgow, UK, 1994-95 \'Art Unlimited\', Leeds Metropolitan University Gallery, Leeds, UK, 1995 \'Art Unlimited\', Corner House, Manchester, UK, 1995 \'Art Unlimited\', South Bank Center, London, 1995 \'Art Unlimited\', Christchurch Mansion, Ipswich, UK, 1995 \'Art Unlimited\', Brighton University Gallery, Brighton, UK, 1996 \'From Beyond the Pale\', Irish Museum of Modern Art, Dublin, Ireland, 1994-95 \'Some Went Mad, Some Ran Away\', Serpentine Gallery, London, 1994 \'Some Went Mad, Some Ran Away\', Nordic Arts Center, Helsinki, Finland, 1994 \'Some Went Mad, Some Ran Away\', Kunstverein, Hanover, Germany, 1994 \'Some Went Mad, Some Ran Away\', Museum of Contemporary Art, Chicago, USA, 1995 \'Some Went Mad, Some Ran Away\', Portalen, Copenhagen, Denmark, 1995 Radiomarelli, S Antonino Di Susa, Turin, Italy, 1994 \'Drawing on Sculpture\', Cohen Gallery, New York, 1994 \'Nature Morte\', Tanya Bonakdar Gallery, New York, 1994 \'Domestic Violence, Gio Marconi, Milan, Italy, 1994 \'Not Self-Portrait\', Karsten Schubert, London, U1994 \'Virtual Reality\', National Gallery of Australia, Canberra, Australia, 1994 \'A Wonderful Life\', Lisson Gallery, London, 1993 \'Displace\', Cohen Gallery, New York, 1993 \'Venice Biennal\', Aperto Section, Venice, Italy, 1993 \'Here and Now: Twenty-three Years of the Serpentine Gallery\', Serpentine Gallery, London, 1993 \'The Nightshade Family\', Museum Fridericianum, Kassel, Germany, 1993 \'The 21st Century\', Kunsthalle, Basel, Switzerland, 1993 \'Turner Prize Exhibition\', Tate Gallery, London, 1992 \'Strange Developments\', Anthony d\'Offay Gallery, London, 1992 \'British Art\', Barbara Gladstone Gallery, New York, 1992 \'Avantegarde & Kampagne\', Stadtische Kunsthalle, Düsseldorf, Germany, 1992 \'Group Show\', Luis Campaña Gallery, Frankfurt, Germany, 1992 \'Posthuman\', Fondation Asher Edelman, Lausanne, France, 1992 \'Posthuman\', Museo D\'Arte Contemporanea, Turin, Italy, 1992 \'Posthuman\', Deichtorhallen, Hamburg, 1993 \'London Portfolio\', Karsten Schubert, London, 1992 Turkish Biennial, Turkey, 1992 \'Made for Arolsen\', Schloss Arolsen, Arolsen, Germany, 1992 \'Young British Artists\', Saatchi Collection, London, 1992 \'Moltiplici/Cultura, Rome, Italy, 1992 \'Under Thirty\', Galerie Metropol, Vienna, Austria, 1992 \'Damien Hirst\', ICA, London, 1991 \'Broken English\', Serpentine Gallery, London, 1991 \'Louder Than Words\', Cornerhouse, Manchester, UK, 1991 \'Gambler\', Building One, London, 1990 \'Modern Medicine\', Building One, London, 1990 \'New contemporaries\', ICA, London, U1989 Third Eye Center, Glasgow, UK, 1989 \'Freeze\', Surrey Docks, London, 1988 SELECTED BIBLIOGRAPHY Hirst, Damien, I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now (monograph and pop-up book), Booth-Clibborn Editions, London, 1997 Archer, Michael and Greg Hilty, Material Culture: The Object in British Art of the 1980s and 1990s, Hayward Gallery, London, 1997 Burn, Gordon, and Damien Hirst, \'Hirst World\', The Guardian, 31b August 1996 Bonami, Francesco, \'Damien Hirst: The Exploded View of the Artist\', Flash Art, Summer 1996 Schjeldahl, Peter, \'He Loves You\', Village Voice, 21 May 1996 Arning, Bill, \'Where there\'s smoke…\', Time Out New York, 15-22 May 1996 Kimmelman, Michael, \'Damien Hirst\'s Carnival\', The New York Times, 10 May 1996 Burn, Gordon, \'Is Mr Death In?\', The Independent Magazine, 17 February 1996 Beckett, Andy, \'Strange Case\', The Independent on Sunday, 12 November 1995 Lyall, Sarah, \'Is It Art, or just Dead Meat?\', The New York Times Magazine, 12 November 1995 \'In Conversation with Damien Hirst\', The Idler, July-August 1995 Saltz, Jerry, \'More Life: The Work of Damien Hirst\', Art in America, June 1995 Brooks, Loura Wixley, \'Damien Hirst and the Sensibility of Shock\', Art and Design, January-February 1995 Kent, Sarah, Shark Infested Waters, Zwemmer, London, 1994 Leedham, Rob, \'Perpetuating the Myth of the Artist as a Rock-and-Roll Star: Damien Hirst\', Dazed and Confused, no. 8, 1994 Cone, Michael, \'An Interview with Damien Hirst\', Atlantica, August 1994 Burn, Gordon, \'Damien Hirst\',

arkett, June 1994 Groys, Boris, \'Decadent Geometry\',

arkett, June 1994 Self, Will, \'A Steady Iron-Hard Jet\', Modern Painters, Summer 1994 Greenberg, Sarah, interview with Andrew Wilson, \'Art Gets In Your Face\', Tate, Spring 1994 Hirst, Damien, \'Life\'s Like This, Then It Stops\', Flash Art, March-April 1993 Chapman, Christopher, \'Doing Drugs with Damien Hirst\', World Art, November 1993 Dannatt, Adrian, \'Damien Hirst: Life\'s like this, then it stops\', Flash Art, March-April 1993 Burn, Gordon, \'Damien and Death\', Modern Painters, Summer 1992 Graham-Dixon, Andrew, \'One Strange Fish\', Vogue, March 1992 Allthorp-Guyton, Marjorie, \'Cry Wolf\', artscribe, February-March 1992 Corris, Michael, \'\'Damien Hirst\', artforum, January 1992 Collings, Matthew, \'Damien Hirst: This Is Your Life\', City Limits, January 1992 Morgan, Stuart, \'Life and Death\', frieze, Summer 1991 (pilot issue); and in No Sense of Absolute Corruption, exhibition catalogue, Gagosian Gallery, New York, 1996; essay on Hirst in his What the Butler Saw, Durian, London, 1996 Renton, Andrew and Liam Gillick, editors, Technique Anglais: Current Trends in British Art, Thames & Hudson, London and New York, 1991 Gillick, Liam, \'It\'s a Maggot Farm\', artscribe, November-December 1990  <img alt="" src="http://www.artnet.com/artwork_images_424163130_244613_damien-hirst.jpg" border="0"/>Boys meet Girls <img alt="" src="http://www.artnet.com/artwork_images_424658918_243948_damien-hirst.jpg" border="0"/>Cineole <img alt="" src="http://www.artnet.com/artwork_images_424658918_243944_damien-hirst.jpg" border="0"/>Valium 2000<img alt="" src="http://www.tate.org.uk/modern/exhibitions/raisedawareness/hirst.jpg" width="480" border="0"/><img alt="" src="http://www.mamac-nice.org/images/exposition_tempo/intra-muros-2004/oeuvres/b_hirst.jpg" border="0"/><img alt="" src="http://www.smh.com.au/ffximage/2005/10/24/hirstmini_wideweb__430x369,0.jpg" border="0"/><a href="http://www.smh.com.au/ffximage/2005/10/24/hirstmini_wideweb__430x369,0.jpg"></a><img alt="" src="http://www.tate.org.uk/collection/T/T07/T07187_9.jpg" width="480" border="0"/> <img alt="" src="http://www.artnet.com/artwork_images_424371779_183143_Damien-Hirst.jpg" width="480" border="0"/><img alt="" src="http://www.artnet.com/artwork_images_424371779_183141_Damien-Hirst.jpg" width="480" border="0"/> <img alt="" src="http://www.aquariumtechnology.com/pics/lproject/others/pages/1.jpg" border="0"/><img alt="" src="http://www.wirednewyork.com/art/damien_hirst_virgin_mother.jpg" width="480" border="0"/><img height="251" alt="I Want You Because I Can\'t Have You (detail) " src="http://www.tate.org.uk/britain/turnerprize/images/hirst_iwantyou_detail.jpg" width="500" vspace="3" border="0"/>I Want You Because I Can\'t Have You (detail) 1992 MDF, melamine, wood, steel, glass, perspex cases, fish and formaldehyde solution 2 parts, each 121.9 x 243.8 x 30.5 cm Private Collection   © the artist   Photo: Tate Photography (Shortlisted 1992)<img height="450" alt="Mother and Child, Divided" src="http://www.tate.org.uk/britain/turnerprize/images/hirst_motherchild.jpg" width="500" vspace="3" border="0"/>Mother and Child, Divided 1993 Steel, GRP composites, glass, silicone sealants, cow, calf, formaldehyde solution Dimensions variable Astrup Fearnley Museum, Oslo   © the artist   Photo: Tate Photography (Shortlisted 1993) <img alt="" src="http://www.tate.org.uk/collection/T/T06/T06657_9.jpg" border="0"/> <img alt="" src="http://www.theage.com.au/ffximage/2005/01/21/hirst_wideweb__430x326.jpg" border="0"/> <img alt="" src="http://www.consciousart.de/galleries/herausforderung/images/hirst-mother.jpg" border="0"/> <img alt="" src="http://www.columbia.edu/cu/museo/4/hirst/p02.jpg" border="0"/> <img alt="" src="http://www.columbia.edu/cu/museo/4/hirst/p01.jpg" border="0"/> <img alt="" src="http://www.civita.it/portale/eventiallegati/V00094.jpg" border="0"/><img alt="" src="http://www.speexx.de/blog/images/2005/10/hamburger%20bahnhof,%20damien%20hirst%20-%20the%20void%20(2000)%20(2).jpg" border="0"/>"Damien Hirst curated the widely acclaimed \'Freeze\' exhibition in 1988 while still a student at Goldsmiths College. This show launched the careers of many successful young British artists, including his own. Hirst graduated from Goldsmiths in 1989, and has since become the most famous living British artist after David Hockney. "In 1991, Hirst presented In and Out of Love, an installation for which he filled a gallery with hundreds of live tropical butterflies, some spawned from monochrome canvases on the wall. With The Physical Impossibility of Death in the Mind of Someone Living (1991), his infamous tiger shark in a glass tank of formaldehyde shown at the Saatchi Gallery, Damien Hirst became a media icon and household name. He has since been imitated, parodied, reproached and exalted by the media and public alike. "Hirst\'s work is an examination of the processes of life and death: the ironies, falsehoods and desires that we mobilise to negotiate our own alienation and mortality. His production can be roughly grouped into three areas: paintings, cabinet sculptures and the glass tank pieces. The paintings divide into spot and spin paintings. The former are randomly organised, colour-spotted canvases with titles that refer to pharmaceutical chemicals. The spin paintings are \'painted\' on a spinning table, so that each individual work is created through centrifugal force. For the cabinet series Hirst displayed collections of surgical tools or hundreds of pill bottles on highly ordered shelves. The tank pieces incorporate dead and sometimes dissected animals - cows, sheep or the shark - preserved in formaldehyde, suspended in death." ... "Damien Hirst shaped shared ideas and interests quickly and easily, his work developing during the decade [1987-1997] to reflect changes in contemporary life. Relying on the straightforward appeal of colour and form, he made important art that contained little mystery in its construction. Adopting the graphic punch of billboard imagery, his work was arresting at a distance and physically surprising close up. Hirst understood art at its most simple and at its most complex. He reduced painting to its basic elements to eliminate abstraction\'s mystery. In the age of art as a commodity he made spot paintings - saucer-sized, coloured circles on a white ground - that became luxury designer goods. His art was direct but never empty. In the later spin paintings, which emphasised a renewed interest in a hands-on process of making, Hirst magnified a \'hobby\'-art technique, drawing attention to the accidental and expressive energy of the haphazard. Influenced by Jeff Koons\'s basketballs floating in water, Hirst\'s early work used pharmacy medicine cabinets that showed the applied beauty of Modernist design. A cabinet of individual fish suspended in formaldehyde worked like the spot paintings, as an arrangement of colour, shape and form. This work came to be seen in the popular mind as a symbol of advanced art; overcoming an initial distrust of its ease of assembly, people became fascinated by how ordinary things of the world could be placed so as to be seen as beautiful. The work democratised its meaning, operating as simply as a pop song. "Hirst, understanding Collishaw\'s coup with the gunshot wound photograph, created work that brought together the joy of life and the inevitability of death, in the process transforming the secrecy of Collishaw\'s voyeurism into mass spectacle. A scene of pastoral beauty became one of languid death: in In and Out of Love, newly emerged butterflies stuck to freshly painted monochromes; in A Thousand Years, flies emerged from maggots, ate and died, zapped by an insect-o-cutor. Soon, the emphasis changed from an observation of creatures dying to the presentation of dead animals. A shark in a tank of formaldehyde presented a once life-threatening beast as a carcass: the glass box, half hunting trophy, half homage to the Minimalist object, imposed the gravity of a natural history museum onto an outsized council-house ornament. Hirst\'s sculpture progressed with the Arcadian beauty of a solitary sheep, Away from the Flock, followed by the gothic thrill of the mechanically moving pig. Hirst understood the claustrophobic horror of Francis Bacon\'s art, and found surprising parallels in the modern office or the lowly art tradition of portraits of animals. His fascination with the elevation of the commonplace, the unremarkable and the everyday has found Hirst at his most inventive." ... "By the time work by Damien Hirst and Rachel Whiteread could be viewed here in New York in any kind of depth, both artists\' reputations had long preceded them. We were hypnotised - amazed, up-in-arms, fascinated, threatened - by the flood of images of Hirst\'s encased shark, images that for several years here remained uncorroborated by any actual objects. The pickled predator remains the very symbol, and with hindsight the warning signal, for the invasion that ensued. Hirst may have been heralded in a timely enough manner, but in fact he did not have a major one-man exhibition in New York until 1996, the year of his much-delayed inaugural at Gagosian. Thus, the surprise of that carnivalesque event was not only its scale but its unexpected variety: from sliced cows and mechanised pig, to Spin-Art paintings, to a giant ashtray full of butts - it had the crazed, cracked energy of a late-\'70s Jonathan Borofsky extravaganza gone grizzly-gothic. Almost miraculously, given the US Customs\' problems attending Hirst\'s taxidermical exercises - not to mention the then-fresh panic concerning British beef - the mood at the opening was cheerfully optimistic, indeed quite madly upbeat."  Excerpts from <a href="http://www.amazon.com/exec/obidos/tg/detail/-/0500280428/texasnetmuseumof">"Sensation : Young British Artists from the Saatchi Collection"</a>
Further reading on Damien Hirst: <ul><li><a href="http://www.amazon.com/exec/obidos/tg/detail/-/1873968442/texasnetmuseumof">I Want to Spend the Rest of My Life Everywhere, With Everyone, One to One, Always, Forever, Now</a>, by Damien Hirst </li><li><a href="http://www.amazon.com/exec/obidos/tg/detail/-/1861542127/texasnetmuseumof">Damien Hirst: From the Charles Saatchi Collection</a>, by Jonathan Barnbrook </li><li><a href="http://www.amazon.com/exec/obidos/tg/detail/-/1901785009/texasnetmuseumof">Blimey!: From Bohemia to Britpop: The London Artworld from Francis Bacon to Damien Hirst</a>, by Matthew Collings </li></ul>

[此贴子已经被作者于2006-10-24 17:37:24编辑过]

作者: 胫骨 时间: 2007-8-4 13:38
标题: 两本出版物，在Amazone可以买到，第一本在国内看到过。
 <img src="http://ec2.images-amazon.com/images/P/1873968442.01._SS500_SCLZZZZZZZ_V1056533377_.jpg" border="0" alt=""/><div class="buying">I Want to Spend the Rest of My Life Everywhere, With Everyone, One to One, Always, Forever, Now (Hardcover) by Damien Hirst
</div><div class="buying"> </div><div class="buying"> </div><div class="buying"><div class="buying"></div></div><div class="buying"> </div><div class="buying"> </div><div class="buying"> </div><img src="http://ec1.images-amazon.com/images/P/0789306646.01._SS500_SCLZZZZZZZ_V1105868559_.jpg" border="0" alt=""/>On the Way to Work (Hardcover) by Damien Hirst, Gordon Burn

[此贴子已经被作者于2006-10-24 17:40:24编辑过]

作者: 独角兽 时间: 2007-8-4 13:39
原来他这么年轻[em05]

作者: 赵松 时间: 2007-8-4 13:39
确实很有冲击力。

作者: 阿呆 时间: 2007-8-4 13:39
我看象是做标本的[em01]

作者: 胫骨 时间: 2007-8-4 13:39
挺有意思的,他的作品制作上应该是标本的原理,但是制作的同时会比做标本复杂得多,从他的画册里看到的他的工作室非常的奢侈.他御用的制作队伍也非常专业,有解剖师,医生等等.而且他每个作品都要耗巨资进行消毒,他在MoMA展览的时候还有联邦卫生局的专业人员协助他在布展期间做消毒处理。

[此贴子已经被作者于2006-11-2 21:04:14编辑过]

作者: 井井回 时间: 2007-8-4 13:39
<img alt="图片点击可在新窗口打开查看" src="http://www.artchive.com/artchive/h/hirst/hirst_flock.jpg" border="0" style="WIDTH: 500px; CURSOR: pointer;"/><img alt="图片点击可在新窗口打开查看" src="http://www.theage.com.au/ffximage/2005/01/21/hirst_wideweb__430x326.jpg" border="0" style="CURSOR: pointer;"/>喜欢这2个。

作者: 蔚文 时间: 2007-8-4 13:39
喜欢他的  Boys meet Girls   似乎更贴近人内心的某些美感神经，呵呵。其他的很复杂，更象一种姿态，艺术的姿态。

作者: 辰昱姚 时间: 2007-8-4 13:40
在看到他的作品之前我就有过类似的想法－－－我想过要把一只鱼做成这样．[em07]

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